Electronic Theses and Dissertation

ABSTRAK

Ikram (2026). Kritik seni terhadap fenomena penerapan unsur lakon dalam
pertunjukan Rapa’i Geleng ditinjau dari nilai Estetika, Tradisi, dan Konteks
budaya Aceh. [Skripsi, Universitas Syiah Kuala]. Dibawah bimbingan Ramdiana,
S.Sn., M.Sn. dan Teungku Hartati, S.Pd., M.Pd.

Penelitian ini bertujuan untuk mendeskripsikan dan menganalisis fenomena
penerapan unsur lakon dalam pertunjukan Rapa'i Geleng di Sanggar Putra
Mahkota Kabupaten Aceh Barat Daya ditinjau dari nilai estetika, tradisi, dan
konteks budaya Aceh. Penelitian ini menggunakan pendekatan kualitatif dengan
metode deskriptif. Teknik pengumpulan data dilakukan melalui observasi,
wawancara, dan dokumentasi. Analisis data dilakukan melalui reduksi data,
penyajian data, dan penarikan kesimpulan. Kajian penelitian menggunakan
pendekatan kritik seni Edmund Burke Feldman yang meliputi tahap analisis,
interpretasi, dan evaluasi. Hasil penelitian menunjukkan bahwa unsur lakon dalam
pertunjukan Rapa'i Geleng hadir melalui dialog, ekspresi dramatik, dan
penggambaran kehidupan sosial masyarakat yang terutama muncul pada segmen
top pade. Kehadiran unsur lakon dipandang oleh pelaku seni sebagai bentuk
inovasi untuk meningkatkan daya tarik pertunjukan dan mempertahankan
keberadaan Rapa'i Geleng di tengah perkembangan zaman. Sementara itu,
budayawan, tokoh agama, dan sebagian masyarakat menilai bahwa beberapa
bentuk penyajian lakon yang berlebihan berpotensi mengurangi nilai religius dan
karakter tradisional yang menjadi identitas Rapa'i Geleng. Berdasarkan kajian
kritik seni Edmund Burke Feldman, unsur lakon memberikan v ariasi dalam
struktur pertunjukan, namun belum sepenuhnya terintegrasi secara harmonis
dengan unsur utama Rapa'i Geleng yang berbasis pada ritme rapa'i,
keserempakan gerak, dan syair religius. Oleh karena itu, penerapan unsur lakon
perlu disesuaikan dengan nilai adat dan syariat agar tidak menggeser fungsi
religius dan budaya yang melekat pada Rapa'i Geleng.
Dengan demikian, fenomena penerapan unsur lakon dalam pertunjukan Rapa'i
Geleng menunjukkan adanya proses adaptasi budaya yang menghadirkan
perbedaan pandangan di tengah masyarakat antara upaya inovasi pertunjukan dan
pelestarian identitas budaya Aceh.

Kata kunci: kritik seni, unsur lakon, Rapa'i Geleng, Edmund Burke Feldman,
budaya Aceh.

ABSTRACT Ikram (2026). Art criticism of the application of play elements in the Rapa'i Geleng performance from the perspective of aesthetics, tradition, and the Acehnese cultural context. [Skripsi, Syiah Kuala University]. Under the guidance of Ramdiana, S.Sn., M.Sn. and Teungku Hartati, S.Pd., M.Pd. This study aims to describe and analyze the application of play elements in the Rapa'i Geleng performance at the Putra Mahkota Studio in Southwest Aceh Regency from the perspective of aesthetics, tradition, and the Acehnese cultural context. This study uses a qualitative approach with descriptive methods. Data collection techniques were conducted through observation, interviews, and documentation. Data analysis was conducted through data reduction, data presentation, and drawing conclusions. The research study uses Edmund Burke Feldman's art criticism approach, which includes the stages of analysis, interpretation, and evaluation. The results show that play elements in the Rapa'i Geleng performance are present through dialogue, dramatic expression, and depictions of social life, particularly in the top pade segment. The presence of play elements is viewed by artists as a form of innovation to enhance the performance's appeal and maintain Rapa'i Geleng's existence amidst changing times. Meanwhile, cultural experts, religious leaders, and some members of the community believe that some forms of excessive play presentation have the potential to diminish the religious values and traditional character that define Rapa'i Geleng. Based on the study of art critic Edmund Burke Feldman, play elements provide variation in the performance's structure, but have not yet been fully integrated harmoniously with the main elements of Rapa'i Geleng, which are based on rapa'i rhythm, synchronicity of movement, and religious poetry. Therefore, the implementation of play elements needs to be aligned with customary and Islamic values to avoid displacing the inherent religious and cultural functions of Rapa'i Geleng. Thus, the application of play elements in Rapa'i Geleng performances demonstrates a process of cultural adaptation that has created differing views within the community between efforts to innovate the performance and preserve Acehnese cultural identity. Keywords: art criticism, play elements, Rapa'i Geleng, Edmund Burke Feldman, Acehnese culture.